Born in 1958
Lives and works in Marsannay-la-côte, France
- "Damiers, Diegos, Monos", Valentin, Paris, 2015
- "Oh my gosh! it's amazing", Valentin, Paris, 2013
- Odd or even, 2011
Cecile Bart's “screens/paintings” are passages, zones where instantaneous encounters can take place, the crossing of mobile elements. It equates unequatable things: the membrane of the eyes with what lies outside of it, the angular geometry of the frame—that of the screen and that of the architecture—at the touch of the light's vaporising effect. In this work, perception becomes a new ordination of things and of the world, elaborating in a flirtation, a dance, constantly renewed with the emptiness, the air, the “environment”.
In the dramatic art of the window, Bart has retained from Cézanne's teachings the desire to “make visible the organising activity of perception”. Here the pictorial world intersects with that of cinema, through the metaphor of the screen as a surface for inscribing, diffracting and delaying a desire that never reaches its object. Whether suspended in empty space or attached to the walls, whether multiplied or isolated, the screens loom up as if to reveal the surrounding space, which they simultaneously concentrate and filter, requiring constant adjustments of the eyes and body. Cecile Bart's works also play on the obliteration of subjectivity, the painting being applied mechanically, when the sensual materiality of the fabric acts as an epidermis, an architectural over-skin working in terms of lightness, of “flirtation”, but also of the threat of dissolution. From building techniques, her work also borrows matt surfaces, sharp contours and a kind of systematic modularity. The production protocol—a Terylene canvas is coated in paint, then brushed and aired before being stretched on a metallic frame—though repeated over time, constantly replays its effect.